Indian Miniatures
Индийская миниатюра
Т. Грек
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- ЗабележкаБез подчертавания, незначително пожълтели корици.
- ЕзикАнглийски и руски
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За изданието
- ИздателствоАврора
- Град на издаванеЛенинград
- Година1983 г.
- ЕзикАнглийски и руски
- Страници16
- КорициМеки
- Категория
- Ширина (мм)140
- Височина (мм)200
16 картички и тройна обложка с описателен текст на гърба (английски и руски език).
Комплект — 16 открыток. Автор-составитель Т. Грек.
На обложке:
ЗНАТНАЯ ДАМА СО СЛУЖАНКАМИ НА ТЕРРАСЕ
Могольская школа. Первая четверть XVII в.
Дорн-489, лист 33. 33,4x24,5 Государственная Публичная библиотека имени Af. Е. Салтыкова-Щедрина, Ленинград
Композиция миниатюры симметрична, тщательно продумана. Центральная группа окружена мраморной решеткой, ажурный орнамент которой напоминает ювелирные изделия. Яркий цветочный партер геометричностью и плотным цветом подчеркивает легкость и воздушность первого плана. Предполагается, что изображенная здесь знатная дама — Нур Джахан, жена падишаха Джахангира, по приказу которой вблизи Лахора, столицы Моголов, были разбиты великолепные сады Дильгуша.
:copyright:Aurora Art Publishers, Leningrad, 1983. Издательство «Аврора», Ленинград, 1983.
Художник М. Сорокина. Редактор В. Волкова. Художественный редактор И. Фаррахов. Технический редактор А. Донияхи. 07.01.83. Изд. № 3269. Тираж 61 ООО. Заказ 4289. Издательство «Аврора». 191065, Ленинград, Невский пр., 7/9. ЛФОП № 1. Printed in the USSR
5105030000-187 023(01)-83
From the sixteenth to the eighteenth century, the most widespread form of the visual arts in India was miniature painting. Outstanding among the schools of miniature painting is that which developed at the court of the Great Mughals. Based on Indian tradition, the style of this school evolved under the mixed influence of Iranian, Central Asian and European painting.
An important role in the establishment of the Mughal school was played by the court atelier which was active at the royal library as early as the second half of the sixteenth century. It produced works depicting actual events and including not only scenes eulogizing the valour of the shah but — what is particularly characteristic of the Mughal miniature — also those illustrating the everyday life of the court.
The high tide of the Mughal miniature school coincides with the rule of Jahangir (1605—1627), who was a connoisseur of painting and a patron of artists. Gifted painters flocked to his court from different districts of India, as well as from other lands.
The most striking occurrence in the Indian art of the miniature of those years was the development of portrait painting, particularly of the group portrait. Of especial interest is a series of group portraits depicting darbars (court receptions). However, while in those of the early seventeenth century the painters scrupulously render the features of the subject, in those of the thirties the portrayals are already generalized and sometimes idealized. During Shah Jahan’s rule (1627—1656) group compositions emphasize the Shah’s majesty while the courtiers appear simply as a splendidly garbed assemblage. The scenes of Shah Jahan’s court receptions emphasize the palatial furnishings, interior décor, the brilliance and splendour of costumes and jewellery. Another typical feature is that these scenes of life at the court have as their background exquisite architectural monuments which appear more concrete than the people portrayed.
The second half of the seventeenth century was marked by serious contradictions in the development of the Mughal school of painting. A certain deterioration of quality in miniature painting was compensated by new developments that indicate a continued evolution of progressive trends concerning the poetization of images, an emotional saturation of the miniatures, accuracy in the depiction of events, scenery and architecture.
Early in the eighteenth century the Mughal school experienced a constrained upsurge stimulated by the atmosphere reigning at the court during the rule of Muhammad Shah (1719—1739), nicknamed Rangila, or "addict of pleaşance". The process of preferential selection and definition of particularly fortunate techniques received a considerably stronger impulse, with the result that these techniques came to be adopted by many schools of painting in various centres of the country while the abatement of Moslem-Hindu antagonism led to the production of works gratifying the aesthetic tastes of men of different faiths.
Cover illustration:
NOBLE LADY WITH HER SERVANTS ON A TERRACE
Mughal school. First quarter of the 17th century Dorn-489, sheet 33. 33.4x24.5 cm The Saltykov-Shchedrin Public Library, Leningrad
The balanced, symmetrical composition of this miniature is the product of careful consideration. The group of women is enclosed within a marble balustrade with its delicate tracery remindful of jewellery. The geometrically laid out flower beds with their intense, vivid colours emphasize the ethereal aspect of the foreground.
The noble lady depicted here is thought to be Nur Jahan, the wife of Padishah Jahangir, by whose command the magnificent Dilgush gardens were laid out near Lahore, the capital of the Mughal Empire.
The Deccani school of the miniature is based on age-old tradition. It came into being in the region famous for the cave temples of Ajanta. The wall-paintings of its temples, the latest of which are dated from the end of the seventh century, rank with the highest achievements of world art, having influenced the development of painting in India and elsewhere.
In the Deccan, the miniature rose to the peak of its development during the rule of the sultans of Bijapur and Golconda, famous for the fabulous brilliance of their courts. Bijapur miniatures of the end of the sixteenth century are known for their expressiveness and decorative quality, the use of gold and of pale blue, orange and yellowish-pink tones, and the elongated figures of their personages. Another typical feature is attention to landscape, a favourite technique, incidentally, being the introduction in the composition, often in the foreground, of large flowers. The works of Bijapur painters often served as models for painters of other schools.
A unique style in miniature painting evolved in Golconda, a Moslem state adjacent to Bijapur, which had reached the high level of prosperity toward the end of the sixteenth century. During the seventeenth century its painting was largely preoccupied with scenes of life at the court and the portrayal of its rulers. In respect of the complexity of composition and brilliance of colouring Golconda painting has much in common with that of Bijapur, though it shows a stronger tendency to use contrasting colour combinations, especially white and blue. After the conquest of Golconda by Mughal armies toward the close of the seventeenth century the school of the miniature flourishing at the court of the sultanate appears to have ceased to exist and its painters began to sell their works in the markets and occasionally to European merchants. Most Golconda miniatures depict historical personages, rendered as traditional images, however, and not as true portraits. The colour scheme of such miniatures is glaringly vivid, in keeping with the buyers’ plain tastes. Ceaseless civil wars broke out in the Deccan in the beginning of the eighteenth century and the local miniature school began to decline.
The history of the miniature gives evidence of the high level attained by Indian art from the sixteenth to the eighteenth centuries. Its wide dispersal, its evolution from book illumination to a work of art in the proper sense, and the diversity of schools and trends reveal a vigorous artistic life in India at that period.
In India and in other Oriental lands it became customary to collect miniatures in albums (muraqqa). One such magnificently adorned album, indexed as Dorn-489, is to be found in the manuscripts section of the Saltykov-Shchedrin Public Library in Leningrad. Most of the miniatures offered in the present collection are taken from that album. Additionally reproduced is a series of miniatures from an album belonging to the collection of Count Suhtelen, who came to serve in the Russian army from Holland in 1783.
Tatyana Grek
Комплект — 16 открыток. Автор-составитель Т. Грек.
На обложке:
ЗНАТНАЯ ДАМА СО СЛУЖАНКАМИ НА ТЕРРАСЕ
Могольская школа. Первая четверть XVII в.
Дорн-489, лист 33. 33,4x24,5 Государственная Публичная библиотека имени Af. Е. Салтыкова-Щедрина, Ленинград
Композиция миниатюры симметрична, тщательно продумана. Центральная группа окружена мраморной решеткой, ажурный орнамент которой напоминает ювелирные изделия. Яркий цветочный партер геометричностью и плотным цветом подчеркивает легкость и воздушность первого плана. Предполагается, что изображенная здесь знатная дама — Нур Джахан, жена падишаха Джахангира, по приказу которой вблизи Лахора, столицы Моголов, были разбиты великолепные сады Дильгуша.
:copyright:Aurora Art Publishers, Leningrad, 1983. Издательство «Аврора», Ленинград, 1983.
Художник М. Сорокина. Редактор В. Волкова. Художественный редактор И. Фаррахов. Технический редактор А. Донияхи. 07.01.83. Изд. № 3269. Тираж 61 ООО. Заказ 4289. Издательство «Аврора». 191065, Ленинград, Невский пр., 7/9. ЛФОП № 1. Printed in the USSR
5105030000-187 023(01)-83
From the sixteenth to the eighteenth century, the most widespread form of the visual arts in India was miniature painting. Outstanding among the schools of miniature painting is that which developed at the court of the Great Mughals. Based on Indian tradition, the style of this school evolved under the mixed influence of Iranian, Central Asian and European painting.
An important role in the establishment of the Mughal school was played by the court atelier which was active at the royal library as early as the second half of the sixteenth century. It produced works depicting actual events and including not only scenes eulogizing the valour of the shah but — what is particularly characteristic of the Mughal miniature — also those illustrating the everyday life of the court.
The high tide of the Mughal miniature school coincides with the rule of Jahangir (1605—1627), who was a connoisseur of painting and a patron of artists. Gifted painters flocked to his court from different districts of India, as well as from other lands.
The most striking occurrence in the Indian art of the miniature of those years was the development of portrait painting, particularly of the group portrait. Of especial interest is a series of group portraits depicting darbars (court receptions). However, while in those of the early seventeenth century the painters scrupulously render the features of the subject, in those of the thirties the portrayals are already generalized and sometimes idealized. During Shah Jahan’s rule (1627—1656) group compositions emphasize the Shah’s majesty while the courtiers appear simply as a splendidly garbed assemblage. The scenes of Shah Jahan’s court receptions emphasize the palatial furnishings, interior décor, the brilliance and splendour of costumes and jewellery. Another typical feature is that these scenes of life at the court have as their background exquisite architectural monuments which appear more concrete than the people portrayed.
The second half of the seventeenth century was marked by serious contradictions in the development of the Mughal school of painting. A certain deterioration of quality in miniature painting was compensated by new developments that indicate a continued evolution of progressive trends concerning the poetization of images, an emotional saturation of the miniatures, accuracy in the depiction of events, scenery and architecture.
Early in the eighteenth century the Mughal school experienced a constrained upsurge stimulated by the atmosphere reigning at the court during the rule of Muhammad Shah (1719—1739), nicknamed Rangila, or "addict of pleaşance". The process of preferential selection and definition of particularly fortunate techniques received a considerably stronger impulse, with the result that these techniques came to be adopted by many schools of painting in various centres of the country while the abatement of Moslem-Hindu antagonism led to the production of works gratifying the aesthetic tastes of men of different faiths.
Cover illustration:
NOBLE LADY WITH HER SERVANTS ON A TERRACE
Mughal school. First quarter of the 17th century Dorn-489, sheet 33. 33.4x24.5 cm The Saltykov-Shchedrin Public Library, Leningrad
The balanced, symmetrical composition of this miniature is the product of careful consideration. The group of women is enclosed within a marble balustrade with its delicate tracery remindful of jewellery. The geometrically laid out flower beds with their intense, vivid colours emphasize the ethereal aspect of the foreground.
The noble lady depicted here is thought to be Nur Jahan, the wife of Padishah Jahangir, by whose command the magnificent Dilgush gardens were laid out near Lahore, the capital of the Mughal Empire.
The Deccani school of the miniature is based on age-old tradition. It came into being in the region famous for the cave temples of Ajanta. The wall-paintings of its temples, the latest of which are dated from the end of the seventh century, rank with the highest achievements of world art, having influenced the development of painting in India and elsewhere.
In the Deccan, the miniature rose to the peak of its development during the rule of the sultans of Bijapur and Golconda, famous for the fabulous brilliance of their courts. Bijapur miniatures of the end of the sixteenth century are known for their expressiveness and decorative quality, the use of gold and of pale blue, orange and yellowish-pink tones, and the elongated figures of their personages. Another typical feature is attention to landscape, a favourite technique, incidentally, being the introduction in the composition, often in the foreground, of large flowers. The works of Bijapur painters often served as models for painters of other schools.
A unique style in miniature painting evolved in Golconda, a Moslem state adjacent to Bijapur, which had reached the high level of prosperity toward the end of the sixteenth century. During the seventeenth century its painting was largely preoccupied with scenes of life at the court and the portrayal of its rulers. In respect of the complexity of composition and brilliance of colouring Golconda painting has much in common with that of Bijapur, though it shows a stronger tendency to use contrasting colour combinations, especially white and blue. After the conquest of Golconda by Mughal armies toward the close of the seventeenth century the school of the miniature flourishing at the court of the sultanate appears to have ceased to exist and its painters began to sell their works in the markets and occasionally to European merchants. Most Golconda miniatures depict historical personages, rendered as traditional images, however, and not as true portraits. The colour scheme of such miniatures is glaringly vivid, in keeping with the buyers’ plain tastes. Ceaseless civil wars broke out in the Deccan in the beginning of the eighteenth century and the local miniature school began to decline.
The history of the miniature gives evidence of the high level attained by Indian art from the sixteenth to the eighteenth centuries. Its wide dispersal, its evolution from book illumination to a work of art in the proper sense, and the diversity of schools and trends reveal a vigorous artistic life in India at that period.
In India and in other Oriental lands it became customary to collect miniatures in albums (muraqqa). One such magnificently adorned album, indexed as Dorn-489, is to be found in the manuscripts section of the Saltykov-Shchedrin Public Library in Leningrad. Most of the miniatures offered in the present collection are taken from that album. Additionally reproduced is a series of miniatures from an album belonging to the collection of Count Suhtelen, who came to serve in the Russian army from Holland in 1783.
Tatyana Grek
Ключови думи:
Indian Miniatures
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